The Wolf House / Wolf Architects


© Dave Keluza

© Dave Keluza


© Dave Keluza


© Dave Keluza


© Dave Keluza


© Dave Keluza

  • Collaborators: Toebelmann Constructions, Toscano Roman Render, Tectonic Flooring

© Dave Keluza

© Dave Keluza

From the architect. A House That Meets the Heart …

When you arrive at the house you enter via a formal pedestrian entry. Beyond that is a contemporary Chinese garden which in itself is a playful expression of east meeting west. A bridge over a dry riverbed directs you the office at the rear. The office can accommodate several people and has its own bathroom and kitchenette. This allows for future use as an additional bedroom or granny flat. Resale is always an important consideration and most of the spaces were designed to be flexible in use. It was agreed that one of the most unsustainable things in houses is doing premature renovations. This house was designed with long term vision in mind.


© Dave Keluza

© Dave Keluza

Life is Art. Live a Masterpiece.

At the front of the house is a large north facing yard which provides a great space for children to play privately and securely. It leads onto a generous double height front porch which then directs you into the house. The front porch has a dark polished concrete floor with a sealant that allows for the floor to also be a large blackboard for children to draw on. The main living space opens onto this northern yard with a set of quality commercial grade bi-fold doors which open completely. The floor level between the inside, front porch and lawn is very slight and this further blends the inside to the outside.


© Dave Keluza

© Dave Keluza

Entry into the house is through a large walnut veneered door.  Instead of a sculpture ahead or painting hanging on the wall, the wall is in itself a piece of art. This approach was taken throughout the house with many of the family’s collections. The objects for display are integrated into the architecture. The Star Wars action figures for example, are on individual stands on a wall and this forms a part of the walls texture making the whole display a feature in the interior architecture.


© Dave Keluza

© Dave Keluza

The heart of the ground floor is triangulated by the living, dining and kitchen spaces. These areas were considered in the brief to be where the family spend most of their time together and therefore had to be interconnected. They are separated primarily by a double sided fireplace, an example of clearly defined spaces without walls. The kitchen is positioned at the western point of the triangle and acts as a control tower from which most of the house and landscaping beyond can be overseen.


© Dave Keluza

© Dave Keluza

Ground Floor plan

Ground Floor plan

© Dave Keluza

© Dave Keluza

Enhancing Everyday Living…

Encouraging Connectivity throughout…

The residence is separated from the office by an operable glass wall located at the southern end of the dining room. Within the office is a space for one of the classic cars. The dining room is at the bottom of the vertical corridor and by looking upwards one understands why the house is so light filled. Light penetrates in most areas from multiple windows. No artificial light is required throughout the day and at night the house’s lighting is almost 100% LED. The dining room is strategically placed in the centre of the home and with a large void above it to enhance the feeling of sacredness, representing how the family regard meal times spent together daily.


© Dave Keluza

© Dave Keluza

The site was not without its challenges. Certain elements of the previous 1940’s residence we retained for cost saving reasons and in consideration of embodied energy and sentimental value. These areas included:

– The existing master bedroom and ensuite which had been renovated several years prior

– A yellow brick tunnel which now has a mural painted by the owner

– The front fence

– The rear yard

– A large 4 car tin shed

The result was a house that consisted of 28 interconnected spaces unfolding over 10 subtle level changes. The key to the design is a multi-purpose vertical corridor which acts as a thermal chimney. It also allows for many internal views and vistas which are integral to the houses connectivity. Light can also penetrate through the space, allowing the Northern sunlight to penetrate to the deepest parts of the house.


© Dave Keluza

© Dave Keluza

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100 Broadview Lobby / Quadrangle Architects


© Brandon Barré

© Brandon Barré


© Ben Rahn/A-Frame


© Brandon Barré


© Ben Rahn/A-Frame


© Brandon Barré


© Ben Rahn/A-Frame

© Ben Rahn/A-Frame

From the architect. A self-storage facility beneath a new condominium at the corner of two busy streets, 100 Broadview was an unremarkable and rather awkward brick and beam building in Toronto’s east end. For this building’s transformation, real estate investment and development group Hullmark engaged Quadrangle Architects with the goal of creating an accessible and attractive lobby, targeting new-economy tenants. To entice the intended demographic, Hullmark wanted to make a bold statement at grade—something that would demarcate 100 Broadview as a creative hub.


© Brandon Barré

© Brandon Barré

Beyond 100 Broadview’s virtual invisibility, it was also inaccessible: the entryway denied direct, barrier-free access, forcing entrants to climb a few feet to the “ground floor” or descend a few steps to the lower level. Hallways lacked signage or wayfinding, creating further confusion and discouraging tenancy.


© Ben Rahn/A-Frame

© Ben Rahn/A-Frame

Quadrangle’s mandate for this design was to upgrade 100 Broadview by embracing the building’s potential and history, infusing it with a contemporary spirit that would not only transform it into an attractive, well-designed space, but also a vibrant, neighbourhood hub while providing a wise investment in the property for the long-term.


© Brandon Barré

© Brandon Barré

Quadrangle’s solution starts with a bright orange sign hanging above the lobby entrance, contrasting with the red brick and grey mortar façade, giving the building an identity and clearly marking the entrance. Their big move was to cut out the slab and transform the lion’s share of the ground level into a dramatic lobby. They designed a concrete ramp that zigzags downwards, drawing users to both the upper and basement levels with a sense of depth and movement. Intersecting the ramp are stairs downwards, marked with orange visibility strips, and a blackened steel staircase with wood treads leads upwards. These elements overlap, creating a textured and grand entrance to the building. 


Floor Plan

Floor Plan

The team’s demolition of the floor plate and the dynamic lobby created in its stead have given new life to this once ill-defined space. This balance of industrial elements, inviting warmth and dynamic colour define an entryway that welcomes creative and innovative thought, as well as congregation and rest. With the feature ramp creating a path for users of mobility devices and the bright colours producing high-contrast pathways for those with visual impairments, 100 Broadview demonstrates how universal design goes beyond mere accessibility.


© Ben Rahn/A-Frame

© Ben Rahn/A-Frame

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Burgos & Garrido + LLAMA Urban Design Win Competition for Lima Art Museum (MALI) Expansion


PATIO & PAVILION / Burgos & Garrido Arquitectos Asociados + LLAMA Urban Design. Image Courtesy of Museo de Arte de Lima (MALI)

PATIO & PAVILION / Burgos & Garrido Arquitectos Asociados + LLAMA Urban Design. Image Courtesy of Museo de Arte de Lima (MALI)

A few months ago, the Art Museum of Lima (MALI) announced an international call for a competition to design a new contemporary art wing via an underground expansion. After receiving 387 proposals from 56 countries, the jury has selected the architects Burgos & Garrido Arquitectos and LLAMA Urban Design as the winners of the competition, beating out entries from other top architects including Zaha Hadid Architects and Alberto Campo Baeza.

The new addition will include new exhibition halls, a library, classrooms, a cafe/restaurant, storage space, a public square, access to a future subway station and a landscape proposal for the park surrounding the museum. See images of the winning proposal and the two finalists after the break.

First Place

Patio & Pavilion
Ginés Garrido I Burgos & Garrido Arquitectos Asociados / Mariana Leguía I LLAMA Urban Design


PATIO & PAVILION / Burgos & Garrido Arquitectos Asociados + LLAMA Urban Design. Image Courtesy of Museo de Arte de Lima (MALI)

PATIO & PAVILION / Burgos & Garrido Arquitectos Asociados + LLAMA Urban Design. Image Courtesy of Museo de Arte de Lima (MALI)

PATIO & PAVILION / Burgos & Garrido Arquitectos Asociados + LLAMA Urban Design. Image Courtesy of Museo de Arte de Lima (MALI)

PATIO & PAVILION / Burgos & Garrido Arquitectos Asociados + LLAMA Urban Design. Image Courtesy of Museo de Arte de Lima (MALI)

PATIO & PAVILION / Burgos & Garrido Arquitectos Asociados + LLAMA Urban Design. Image Courtesy of Museo de Arte de Lima (MALI)

PATIO & PAVILION / Burgos & Garrido Arquitectos Asociados + LLAMA Urban Design. Image Courtesy of Museo de Arte de Lima (MALI)

PATIO & PAVILION / Burgos & Garrido Arquitectos Asociados + LLAMA Urban Design

PATIO & PAVILION / Burgos & Garrido Arquitectos Asociados + LLAMA Urban Design

PATIO & PAVILION / Burgos & Garrido Arquitectos Asociados + LLAMA Urban Design

PATIO & PAVILION / Burgos & Garrido Arquitectos Asociados + LLAMA Urban Design

PATIO & PAVILION / Burgos & Garrido Arquitectos Asociados + LLAMA Urban Design

PATIO & PAVILION / Burgos & Garrido Arquitectos Asociados + LLAMA Urban Design

PATIO & PAVILION / Burgos & Garrido Arquitectos Asociados + LLAMA Urban Design

PATIO & PAVILION / Burgos & Garrido Arquitectos Asociados + LLAMA Urban Design

Finalist

10688
Lopes Brenna, Moramarco + Ventrella, Filippo Bolognese


10688 / Lopes Brenna, Moramarco + Ventrella, Filippo Bolognese. Image Courtesy of Museo de Arte de Lima (MALI)

10688 / Lopes Brenna, Moramarco + Ventrella, Filippo Bolognese. Image Courtesy of Museo de Arte de Lima (MALI)

10688 / Lopes Brenna, Moramarco + Ventrella, Filippo Bolognese. Image Courtesy of Museo de Arte de Lima (MALI)

10688 / Lopes Brenna, Moramarco + Ventrella, Filippo Bolognese. Image Courtesy of Museo de Arte de Lima (MALI)

10688 / Lopes Brenna, Moramarco + Ventrella, Filippo Bolognese. Image Courtesy of Museo de Arte de Lima (MALI)

10688 / Lopes Brenna, Moramarco + Ventrella, Filippo Bolognese. Image Courtesy of Museo de Arte de Lima (MALI)

10688 / Lopes Brenna, Moramarco + Ventrella, Filippo Bolognese. Image Courtesy of Museo de Arte de Lima (MALI)

10688 / Lopes Brenna, Moramarco + Ventrella, Filippo Bolognese. Image Courtesy of Museo de Arte de Lima (MALI)

10688 / Lopes Brenna, Moramarco + Ventrella, Filippo Bolognese

10688 / Lopes Brenna, Moramarco + Ventrella, Filippo Bolognese

10688 / Lopes Brenna, Moramarco + Ventrella, Filippo Bolognese

10688 / Lopes Brenna, Moramarco + Ventrella, Filippo Bolognese

10688 / Lopes Brenna, Moramarco + Ventrella, Filippo Bolognese

10688 / Lopes Brenna, Moramarco + Ventrella, Filippo Bolognese

Finalist

Museum in 3 Acts
SMAR Architecture Studio (Dr. Fernando Jerez, Belen Pérez de Juan, Luis Pérez de Juan)


MUSEO EN 3 ACTOS / SMAR Architecture Studio (Dr. Fernando Jerez, Belen Pérez de Juan, Luis Pérez de Juan). Image Courtesy of Museo de Arte de Lima (MALI)

MUSEO EN 3 ACTOS / SMAR Architecture Studio (Dr. Fernando Jerez, Belen Pérez de Juan, Luis Pérez de Juan). Image Courtesy of Museo de Arte de Lima (MALI)

MUSEO EN 3 ACTOS / SMAR Architecture Studio (Dr. Fernando Jerez, Belen Pérez de Juan, Luis Pérez de Juan). Image Courtesy of Museo de Arte de Lima (MALI)

MUSEO EN 3 ACTOS / SMAR Architecture Studio (Dr. Fernando Jerez, Belen Pérez de Juan, Luis Pérez de Juan). Image Courtesy of Museo de Arte de Lima (MALI)

MUSEO EN 3 ACTOS / SMAR Architecture Studio (Dr. Fernando Jerez, Belen Pérez de Juan, Luis Pérez de Juan). Image Courtesy of Museo de Arte de Lima (MALI)

MUSEO EN 3 ACTOS / SMAR Architecture Studio (Dr. Fernando Jerez, Belen Pérez de Juan, Luis Pérez de Juan). Image Courtesy of Museo de Arte de Lima (MALI)

MUSEO EN 3 ACTOS / SMAR Architecture Studio (Dr. Fernando Jerez, Belen Pérez de Juan, Luis Pérez de Juan). Image Courtesy of Museo de Arte de Lima (MALI)

MUSEO EN 3 ACTOS / SMAR Architecture Studio (Dr. Fernando Jerez, Belen Pérez de Juan, Luis Pérez de Juan). Image Courtesy of Museo de Arte de Lima (MALI)

MUSEO EN 3 ACTOS / SMAR Architecture Studio (Dr. Fernando Jerez, Belen Pérez de Juan, Luis Pérez de Juan)

MUSEO EN 3 ACTOS / SMAR Architecture Studio (Dr. Fernando Jerez, Belen Pérez de Juan, Luis Pérez de Juan)

MUSEO EN 3 ACTOS / SMAR Architecture Studio (Dr. Fernando Jerez, Belen Pérez de Juan, Luis Pérez de Juan)

MUSEO EN 3 ACTOS / SMAR Architecture Studio (Dr. Fernando Jerez, Belen Pérez de Juan, Luis Pérez de Juan)

MUSEO EN 3 ACTOS / SMAR Architecture Studio (Dr. Fernando Jerez, Belen Pérez de Juan, Luis Pérez de Juan)

MUSEO EN 3 ACTOS / SMAR Architecture Studio (Dr. Fernando Jerez, Belen Pérez de Juan, Luis Pérez de Juan)

Honorable Mentions

The jury awarded 13 honorable mentions to projects that, in one way or another, were essential during the process of deliberation, whether through their originality or because they helped to shape the discussion that ultimately lead to the winner.

Those thirteen studios are, in no particular order:

  • Luis Calvet Mulleras, Samuel Cárdenas and Antonio Rubio 
  • Heike Matcha and Gunter Barczik
  • OB+RA arquitectos (Oscar Borasino, Ruth Alvarado) y LLOSA CORTEGANA arquitectos (Patricia Llosa y Rodolfo Cortegana)
  • Zaha Hadid Architects with David Mutal Arquitectos
  • Estudio Campo Baeza with La Fábrica (Álvaro Rivadeneira, Alexander Wiegering) y Ghezzi Novak (Arturo and Gustavo Ghezzi)
  • PRODUCTORA (Carlos Bedoya, Wonne Ickx, Victor Jaime, Abel Perles)
  • Linazasoro & Sánchez Arquitectura, Juan Manuel Gutiérrez Gonzáles, and Luis Martin Piccini Acuña. 
  • Philippe Rahm architectes
  • MDDM Studio, Momo Andrea Destro, Margret Domko
  • Buda Mimarlik
  • Andrew Kovacs, Israel Ceja, Peter Boldt
  • Michael Maltzan Architecture with Arup (engineering)
  • Hunerwadel Partnership Basel and Hünerwadel Arquitectos Lima

Jury

The jury was comprised of:

  • Kristin Feireiss
  • Teodoro Fernández
  • Guy Nordenson
  • Paulo Dam
  • Juan Carlos Verme
  • Chris Dercon (Asesor) 

More information about the competition can be found here.

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Chacras Project / Natura Futura Arquitectura + Colectivo Cronopios


© Eduardo Cruz y Natura Futura

© Eduardo Cruz y Natura Futura


© Eduardo Cruz y Natura Futura


© Eduardo Cruz y Natura Futura


© Eduardo Cruz y Natura Futura


© Eduardo Cruz y Natura Futura

  • Architects: Natura Futura Arquitectura + Colectivo Cronopios
  • Location: Reserva Ecológica Militar Arenillas, E50, Ecuador
  • Collaborators: Don Velfor, Joao , Gabriela Torres, Eduardo Cruz, Christian Bravo. Fausto Quiroz, José Gómez, Verónica Alvarado, Víctor Torres, Lorena Torres, Betty Alvarado, Diana Alvarado, Xavier Carrera, Leopoldo Bravo, Jamil Jara, Gonzalo Chávez, Todos somos Ecuador, Cuerpo Militar Arenillas, Wagner Aguirre, Juan Sánchez, Ing. Macas, Santiago Arcos , Lylibeth Coloma
  • Project Area: 30.0 m2
  • Project Year: 2016
  • Photographs: Eduardo Cruz y Natura Futura

© Eduardo Cruz y Natura Futura

© Eduardo Cruz y Natura Futura

Log for a productive emerging dwelling
Architecture as a social catalyst for transformation from the basics.

There are times when starting a project is a dizzying adventure; seductive and inevitable. Passion is enmeshed in a series of circumstances to solve; technical issues, improvisations, interventions, collaborations, then articulating all initiatives to reach the aim: a house for Velfor, his wife and three children.


© Eduardo Cruz y Natura Futura

© Eduardo Cruz y Natura Futura

Located in the province of El Oro, Ecuador, the town of Chacras appears as in an old western movie, full of historical references due to its proximity to neighboring Peru (Manuelita Saenz, partner of Simon Bolivar, the Liberator lived here). Presently Don Velfor lives here with his family. They lost their home in the earthquake from April this year and found refuge in an area of 12 x 10 meters partially occupied by his mother-in-law Mami-Itzi.


© Eduardo Cruz y Natura Futura

© Eduardo Cruz y Natura Futura

The project was built in May 2016 during a period of 10 days. Natura Futura Arquitectura along with Cronopios-El Oro (a cultural management collective) carried out the different processes. After proposing an emerging design, we made calls through press, digital media networking and word of mouth. Donated materials and tools are collected, and volunteers gather for the construction; they are trained to perform the various daily tasks that will achieve the construction of the project.


© Eduardo Cruz y Natura Futura

© Eduardo Cruz y Natura Futura

After making the foundations with concrete and bricks, the house is articulated as modules on pallets, built with pine wood, usually used to load goods in large warehouses. Sticks and strips are used as structural support. The windows were built with semi-hard wood and recycled waste strips. In the end, zinc plates are used to make the roof.


Diagramation

Diagramation

We propose strategies to shore up the family economy, affected by the work stoppage and change of place. Creating a family garden was a first idea to generate a new spirit of livelihood. We included Don Velfor in a process of learning by doing so he can replicate what he learned in basic construction, in order to establish an economic activity within the region. We propose spaces for events to generate revenue, such as selling snacks or lunches.


© Eduardo Cruz y Natura Futura

© Eduardo Cruz y Natura Futura

The access platform is a space for social interaction between family members, and with the families of adjacent houses. It serves both to set a table with chairs and lunch, or to lay a carpet or mat and rest. The opening day a cultural event was made: a puppet show with the group Rompecabezas.
Transparency, light and wind.


Plan

Plan

The house is based on three volumes, two used for sleeping and one for kitchen and living room, with an optional progressive growth towards the platform. The distance from the elevated house to the ground protects the structures from moisture while allowing a constant flow of air under the floor. The height of the roof and open spaces plus the transparency of the windows allow for cross ventilation at all times. The form of the roof and its eaves are like a large hat that protects the house providing shade and protecting it from the rain. It is the choice of passive systems.


© Eduardo Cruz y Natura Futura

© Eduardo Cruz y Natura Futura

The constancy of pallet modules is mixed with spaces for windows whose spaces between strips allow for light to leak generating whimsical shadows inside. The low floor level windows function as escape doors for the little ones; recreational possibilities are embraced in a space that encourages fluidity.


© Eduardo Cruz y Natura Futura

© Eduardo Cruz y Natura Futura

The wide front door articulates the basic kitchen, with its shelves made of recycled baskets (used for fruit) with the platform expanding the space. The garden made of tires filled with sown ground renews hope in children who embrace it as their own project.


© Eduardo Cruz y Natura Futura

© Eduardo Cruz y Natura Futura

We seek to create a new core within the community thus reactivating the area, inverting its meaning, moving from moments of anxiety and uncertainty to a transformation from the basics, whose social catalyst is architecture.

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Zaha Hadid Architects to Design Hotel and Residential Tower in Qatar


Courtesy of Zaha Hadid Architects

Courtesy of Zaha Hadid Architects

Zaha Hadid Architects have released plans for a 70,000 square meter (750,000 square foot) hotel and residential tower in the Marina District of Lusail City, Qatar. The design is the first of two ZHA projects commissioned by H.H. Sheikh Mohammed Bin Khalifa Al Thani for Lusail City’s integrated community master plan, which when complete will become Qatar’s first and largest sustainable city, providing entertainment, employment and accommodation for up to 450,000 residents and visitors.

ZHA’s design for the 38-story hotel and residential tower takes inspiration from the structure of the Desert Hyacinth, a flowering plant native to the Arabian Gulf. The building consists of a 9-pointed podium surrounding a central core defined by the interlacing, flowing geometries of the hyacinth.

The façade system utilizes the traditional element of the ornamental mashrabiya to protect the building from the hot Arabian climate by reducing solar gain. The building’s fluid form and calligraphic and geometric patterns also take inspiration from the region’s vernacular architecture, creating relationships between program elements by connecting domes to ceilings, ceilings to walls, and walls to floors.

To coincide with Lusail City’s environmental sustainability initiative, ZHA will be working with global engineering leaders Arup and Atelier Ten to develop a sophisticated building model to optimize building performance.

“With truly inspirational public spaces and atrium, 120 unique residences and 200 hotel rooms of Zaha Hadid’s unmistakable signature, we celebrate her remarkable legacy and continue Lusail City’s commitment to creating the region’s most sustainable, interconnected community,” said H.H. Sheikh Mohammed Bin Khalifa Al Thani, Chairman of Al Alfia Holding.

The hotel and residential tower is scheduled to be completed in 2020, with subsequent phases of the Lusail City Masterplan to be announced at a future date.

  • Architects: Zaha Hadid Architects
  • Location: Lusail, Qatar
  • Architect: Zaha Hadid Architects
  • Design: Zaha Hadid & Patrick Schumacher
  • Zha Project Director: Charles Walker
  • Zha Project Associate: Tariq Khayyat
  • Zha Project Architect: Kutbuddin Nadiadi
  • Zha Project Team: Gerry Cruz, Drew Merkle, Dennis Brezina, Alia Faisal Zayani,Alessandra Lazzoni, Matthew Le Grice, Mu Ren, Alexandra Fisher, Kwanphil Cho,Joris Pauwels, Jose Pareja Gomez, Katherina Hieger, Konstantinos Psomas, Leo Alves, Mei-Ling Lin, Nicholette Chan, Yifan Zhang
  • Structure And Facade Engineers: Arup
  • Mep And Sustainability: Atelier Ten
  • Landscape: Francis Landscape
  • Hotel Consultant: GC Hotel Consultancy
  • Food Services Consultant: Tricon
  • Area: 70000.0 sqm
  • Project Year: 2016
  • Photographs: Courtesy of Zaha Hadid Architects

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Guazuma House / Alberto Zavala Arquitectos


© David Cervera

© David Cervera


© David Cervera


© David Cervera


© David Cervera


© David Cervera

  • Architects: Alberto Zavala Arquitectos
  • Location: Villahermosa, Tabasco, Mexico
  • Collaborators: Lenin Molina, Karla Ramírez, Vidaura Cardos, Georgina Doria, Jimena Castillo, Edair Puerto, Iván Uribe
  • Project Area: 575.0 m2
  • Project Year: 2015
  • Photographs: David Cervera
  • Furniture: Proyecto + 7
  • Lighting: Lumínica

© David Cervera

© David Cervera

The site conditions, climate, topography and existing vegetation, acted as fundamental aspects for the design of this eco-friendly project.


© David Cervera

© David Cervera

The site is located in a tropical area of lush vegetation on the outskirts of the city with a downward slope from the upper street level to the rear garden bordering a golf course.
On the plot there is a single tree (Guazuma ulmifolia) native to tropical America, with large dimensions and characteristics of great presence.


© David Cervera

© David Cervera

The basic volume composing the design consists of a series of staggered prisms following the natural topography of the land and also placing the tree as a focal point or heart of the project.
The tropical architecture is manifested by interacting with prism interiors, with semi outdoor and open spaces like terraces, pergolas, gardens, fountains, pool, and cantilevered stairs.


Section

Section

Section

Section

The rooms of the house are articulated and discovered on a journey that at times eliminates the feeling of boundary between inside and outside.


© David Cervera

© David Cervera

The use of natural elements and site are exploited to the maximum by opening great transparent views to the green horizon and closing the areas that are most exposed to the sun such as the south and west; also the concrete eaves and pergola areas are a resource used to protect from direct solar incidence and create interesting light and shade environments.


Plan

Plan

Bioclimatic strategies were implemented in all areas such as cross ventilation, employing mixed systems of aluminum window blinds and double glass sliding doors (Duovent system) with treatments to reduce solar radiation.


© David Cervera

© David Cervera

On the rooftop, solar panels were placed for the generation of renewable and clean energy. As for the construction system used throughout the house it was based on cellular concrete blocks on all the walls and precast slabs, thereby achieving high levels of thermal and acoustic insulation with subsequent energy savings over time. The lighting in the home is 90% LEDs, with integrated energy saving and home automation system sensors.


© David Cervera

© David Cervera

The material palette is designed to integrate into the surrounding green environment in a natural and warm way, along with the inclusion of tropical timber, exterior travertine floors, endemic landscape design, employment of vegetation in some exterior stone walls from stone found in the river of the region, and the inclusion of internal fountains to cool the atmosphere and provide peace and serenity.


© David Cervera

© David Cervera

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How WeWork Experiments On Itself to Advance the Field of Office Design


The potted plants, images of trees on the giant light fixtures from Alex Allen Studio, and even a show tree help people make a connection to nature at work, which creative director Devin Vermeulen says is “proven to make people more creative, less stressed”. Image © Lauren Kallen

The potted plants, images of trees on the giant light fixtures from Alex Allen Studio, and even a show tree help people make a connection to nature at work, which creative director Devin Vermeulen says is “proven to make people more creative, less stressed”. Image © Lauren Kallen

In this article, originally published by Metropolis Magazine as “Redefining (and Redesigning) The Way WeWork,” Anne Quito visits WeWork’s offices in New York to discover how the company is using its own headquarters as the test bed for its future product offering.

In a nondescript building in New York’s Chelsea neighborhood, the global headquarters of WeWork buzzes with creative energy. In just a little over six years, the start-up at the forefront of the coworking-space rental boom has created a $16 billion operation with 50,000 members in 28 cities, with 96 locations announced for this year.

Spread across two and a half floors, the 50,000-square-foot headquarters is the home base for WeWork’s almost-700-strong New York–based staff and serves as a laboratory for its designers.


WeWork’s designers think of the giant staircase that connects three floors of its headquarters as a series of occasional meeting spaces, but also as a kind of indoor park. Image © Lauren Kallen


Gathering spaces at WeWork’s headquarters offer a wide range of options in terms of informality and noise levels. The café tends to be fairly energetic. Image © Lauren Kallen


The in-house recording studio has a contemporary flair. Image © Lauren Kallen


Every WeWork location has some local element; the headquarters has a mural featuring a timeline of New York musicians—from rock and roll to hip-hop—along a narrow corridor. Image © Lauren Kallen


The in-house recording studio has a contemporary flair. Image © Lauren Kallen

The in-house recording studio has a contemporary flair. Image © Lauren Kallen

“We’re our own guinea pigs in a way,” says Devin Vermeulen, WeWork’s creative director of physical product, who designed the space with Ashley Couch, the company’s global director of interior design.

Well-appointed meeting spaces and a diversity of lounge areas to kindle social interactions are the design hallmarks of shared-office memberships. In laying out the space, the designers sought to spark the so-called propinquity effect—a 1950s social psychology theory that posits that strangers who encounter one another with some frequency tend to develop friendships. Applications of this idea, popularized by Steve Jobs at Pixar, have become fairly commonplace in many contemporary workplaces; what sets Vermeulen and Couch’s design apart is their willingness to experiment.

From finding the optimal office chairs to tweaking the cushioning of a couch, to bold architectural changes like blowing up a floor to install a staircase, the WeWork team has tried all sorts of new ideas in the name of enhancing social interactions.


Tucked-away arrangements of couches like this leather sectional from DR Sofa (above) offer some quiet in a living- room-like ambiance. The design team often uses custom wallpaper; the one shown above carries over the woodsy theme of the central staircase. Image © Lauren Kallen

Tucked-away arrangements of couches like this leather sectional from DR Sofa (above) offer some quiet in a living- room-like ambiance. The design team often uses custom wallpaper; the one shown above carries over the woodsy theme of the central staircase. Image © Lauren Kallen

“We shift things around and watch traffic patterns so we can learn from it,” says Vermeulen, who, like WeWork’s cofounder and chief creative officer, Miguel McKelvey, used to design fashion retail stores. He explains that WeWork’s design teams rely on data—observational and quantitative research—to inform their design decisions. To test seating options, for example, they’re developing a QR code system to allow employees to provide instant feedback on the furniture. Researchers stake out select WeWork locations to glean insights on how to improve the flow and vibe of social interactions.

After observing that people tend to gravitate toward the edges of a bar, Vermeulen and Couch conjured up a counter with two extra corners—like deep zigzags breaking the plane—with its depth and shape obsessively considered. “You have to have the right dimensions so people can circulate properly, but we also wanted them to be forced into a smaller space because that will stage interactions,” Couch explains. “We don’t want it to be a nuisance, but we wanted it to be a conversation starter.”


Gathering spaces at WeWork’s headquarters offer a wide range of options in terms of informality and noise levels. The café tends to be fairly energetic. Image © Lauren Kallen

Gathering spaces at WeWork’s headquarters offer a wide range of options in terms of informality and noise levels. The café tends to be fairly energetic. Image © Lauren Kallen

Their boldest experiment is a handsome steel staircase that connects the three floors of WeWork’s headquarters. Couch explains that even the staircase—usually a functional conveyance—was configured to invite impromptu conversations. Love seats and bistro tables are tucked into the custom staircase’s landing areas, and a “prop tree” and hanging plants suggest an indoor park. “It’s obviously a big expense and there are a lot of headaches with a big feature piece, but something like this is already appearing in plans for our future projects because the value becomes really obvious once you experience it yourself,” she says.

Beyond the din of those productive interactions they wanted to spark, WeWork’s designers have also tuned in to the need for silent, solitary spaces. On the opposite end of its reception area, a heavy soundproof door leads to a Quiet Room where cell phones and chatter are completely banned. In pitch darkness, with a white noise machine humming, those seeking to clear their mind can lie in a hammock, lounge in an easy chair, or prop themselves on a prototype massage chair. “Apparently these were popular in our Washington, D.C., location, and we have implemented them in other locations,” says Couch. At a WeWork location in the former Wonder Bread factory in D.C., a popular conference room is equipped with “robotic massage chairs,” developed by a WeWork member, Restin.


WeWork’s designers think of the giant staircase that connects three floors of its headquarters as a series of occasional meeting spaces, but also as a kind of indoor park. Image © Lauren Kallen

WeWork’s designers think of the giant staircase that connects three floors of its headquarters as a series of occasional meeting spaces, but also as a kind of indoor park. Image © Lauren Kallen

“Work has invaded home, and there’s something nice about the fact that we’re making home invade work,” muses Vermeulen. Last year, WeWork launched WeLive, the company’s initial foray into transferring its acuity for creating turnkey spaces to the apartment rental market. The move is a natural extension of its longstanding aspiration to create comfortable, homelike environments in its workspaces.

Vermeulen explains that in the early days of WeWork, it used furniture pieces originally designed for residential spaces because they were a lot cheaper than commercial contract furniture. “When you think about a conference room, it’s basically a dining table and chairs,” he says. “In making those connections, we could achieve the same functionality from residential furniture.”


The conference rooms and other facilities each have their own character—one elegant meeting space has period details. Image © Lauren Kallen

The conference rooms and other facilities each have their own character—one elegant meeting space has period details. Image © Lauren Kallen

Since most of WeWork’s members are start-up entrepreneurs, spending long hours in the workplace, making the spaces comfortable and uncluttered has been a priority. “You almost want it to be even more comfortable than a home, and probably in many cases it is,” says Couch. As the company expands into the Asian market this year, it’s researching the distinctive cultural markers of home life to inform the design of its new office spaces.

WeWork is approaching a period of ambitious growth, and defining its signature brand look is increasingly a priority. “We’re having an ongoing discussion now about how we adapt the brand and how far we adapt it to local markets,” explains Couch, about tweaking or codifying WeWork’s growing eclecticism. “We’re always starting at the local, but it should also definitely still feel like a WeWork.”


Every WeWork location has some local element; the headquarters has a mural featuring a timeline of New York musicians—from rock and roll to hip-hop—along a narrow corridor. Image © Lauren Kallen

Every WeWork location has some local element; the headquarters has a mural featuring a timeline of New York musicians—from rock and roll to hip-hop—along a narrow corridor. Image © Lauren Kallen

Walking through the model headquarters WeWork’s designers built just last year, they say they’re already getting antsy, anticipating changing things.

“When we built this, it was a time capsule of where we wanted to direct the brand,” says Couch, explaining that several design features tested and fine-tuned there have already been applied to WeWork’s new locations. “We had this and we were good with this, now you only go six months and 40 locations with something similar,” she says. “Now we’re like, ‘Is that what we want to be for the next six months?’ The brand look is constantly evolving.”

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Richard Meier’s Douglas House Added to National Register of Historic Places


© James Haefner courtesy of Michigan State Historic Preservation Office

© James Haefner courtesy of Michigan State Historic Preservation Office

Today, one of Richard Meier’s most notable and acclaimed residences, the 1973 Douglas House, has been named to the National Register of Historic Places, the federal list of cultural resources worthy of preservation across the United States. The announcement comes after an extensive renovation to the property was completed in 2011, and will grant the home the legal status to help ensure the building is maintained for generations to come.


© James Haefner courtesy of Michigan State Historic Preservation Office


© James Haefner courtesy of Michigan State Historic Preservation Office


© Scott Frances/OTTO


© James Haefner courtesy of Michigan State Historic Preservation Office


© Scott Frances/OTTO

© Scott Frances/OTTO

Like many of the great residences throughout history, the Douglas House was born out of a fruitful architect-client relationship. The original owners contacted Meier after seeing one of the architect’s earliest designs, the Smith House, on a magazine cover, and together they worked to find the perfect site for their new home.

“One day I received a letter from a Mr. and Mrs. James Douglas inquiring if I would sell them the blueprints for the Smith House,” explains Meier. “I replied that while I was not prepared to sell the drawings I would certainly be willing to design a new house for them along similar lines. They accepted, and I started designing a house for a site that they had purchased in a residential subdivision in northern Michigan. As it happened, the developer who had sponsored the subdivision insisted on reviewing the design of any house that would be built within its boundary. He asked me to submit photographs of my work, whereupon he immediately refused to permit a house designed by me since it did not have the prerequisite classic pitched roof. To my delight, the Douglases responded to this impasse by promptly selling the plot and looking for another site, and that was the beginning of a very gratifying collaboration.”


© James Haefner courtesy of Michigan State Historic Preservation Office

© James Haefner courtesy of Michigan State Historic Preservation Office

Together, the team discovered a dramatically sloping site on a forested cliffside near Harbor Springs, Michigan, that had previously been deemed too difficult to build upon. Meier rose to the challenge, proposing a 5-story wood and steel tower house painted classic Meier white to act as a foil for the natural surroundings as it rises out of the treeline. So steep is the slope down to the Lake Michigan shore, the 4,500 square foot (418 square meter) house must be entered through a flying bridge connecting to the top floor of the residence.


© Scott Frances/OTTO

© Scott Frances/OTTO

The Douglas House’s eastern facade, facing the road, is largely an opaque surface punctured by square apertures and horizontal strip windows. This opacity is the set up for the house’s grand reveal: the glazed western facade featuring dramatic views of the lake and surrounding natural preserve.

“Usually when people enter a house, they expect the outside to be brought in, but in the Douglas House, the opposite occurs: you are transported outside, over the lake and into the trees,” Richard Meier explains. “Visitors all depart with an experience they’ve never had before. It is truly a house of opposites: to leave the house for instance, you go up instead of down.”


© James Haefner courtesy of Michigan State Historic Preservation Office

© James Haefner courtesy of Michigan State Historic Preservation Office

Meier also had a hand in the recent renovations conducted by current owners Michael McCarthy and Marcia Myers, who found the house on the market in 2007 in a state of disrepair, but still structurally sound. They then began the four-year process of updating and repairing the home, with utmost importance placed on maintaining the integrity of the original design.

“Reflecting on the history and the design of the Douglas House I believe the architect is really the facilitator of creating something which goes on to have an existence that is much greater than itself and has a life that is longer than any of the people involved in the creation of it,” comments Meier. “In thinking about the ideas that go into making architecture one has to think about not just the context, the circumstances of the site, its history, the surrounding buildings, the topography, and the nature of the place in the public realm, but also about what it can be, what it will be, and how it will be meaningful for future society. With all of the changes that are taking place in the world today, it is important that architecture continues to move us aesthetically, as great architecture always has.” 


© Scott Frances/OTTO

© Scott Frances/OTTO

“We are deeply honored by this historic distinction of the Douglas House, and we are very grateful for all the dedication, care and supervision given by the current owners of the house. Michael McCarthy and Marcia Myers have returned the house to its original intent.”

AD Classics: Douglas House / Richard Meier & Partners Architects, LLP
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Armenia Building 1929-1933 / Luciano Kruk + María Victoria Besonías


© Daniela Mac Adden

© Daniela Mac Adden


© Daniela Mac Adden


© Daniela Mac Adden


© Daniela Mac Adden


© Daniela Mac Adden

  • Project Manager: Arq. Belén Ferrand
  • Site Manager: Arch. Belén Ferrand
  • Collaborators: Arch. Andrés Conde Blanco – Arch. Ekaterina Künzel – Alice Salamone – Christian Studer
  • Original Project Armenia 1933: María Victoria Besonías – Luciano Kruk
  • Expansion Project Armenia 1929: Luciano Kruk
  • Text Editing: : Arch. Mariana Piqué

© Daniela Mac Adden

© Daniela Mac Adden

From the architect. Armenia Building is located in Palermo Soho, a neighborhood in the city of Buenos Aires. Due to the gentrification process occurred during the last decade, Palermo Soho was renewed and became a gastronomic, cultural, commercial and touristic hotspot, which has raised real estate prices in the area.


© Daniela Mac Adden

© Daniela Mac Adden

The building is situated on Armenia Street, an average width road lined with aged trees.


© Daniela Mac Adden

© Daniela Mac Adden

In order to profit from the area’s potential, an investment group commissioned an apartment building with a row of stores on the ground floor. The building should be composed of a varied set of apartments. While the commissioners intended most of them to be lofts that could be temporarily rent out to tourists, the more spacious unities (one, two, and three-bedroom apartments) would be sold as permanent residencies. It was requested the project should include common areas, green spaces, a solarium, and should also be endowed with water presence. With respect to materiality, the clients already knew the Studio’s career regarding the esthetics of its works and its experience in the use of exposed concrete. They considered it fit for the project not just for esthetics reasons, but also because it requires minimum maintenance.


© Daniela Mac Adden

© Daniela Mac Adden

The project synthesis developed a building organized in two compact blocks linked by a patio in-between that would function as the heart of the design. The blocks’ height was determined by the code’s zoning: ground floor and four other floors. According to the code’s requirements, the different floors on the front block are organized in steps ascending inwards. This structure is mirrored by the block in the rear so that better insolation, air and views may be achieved, falling backwards on the upper floors and generating an opening towards the central patio.


© Daniela Mac Adden

© Daniela Mac Adden

The Studio’s intention was to avoid this space’s confinement, so the ground free floor plan connects the street area, the central patio and the backyard. Receded from the building’s facade, the double-height stores set in the front expand the sidewalk space. Among the stores’ interstices is located the entrance to the building, with no closing physical barrier other than a fence that allows the passing of air into the rest of the condominium. The air going through the whole floor plan softens the transition between the public and private spaces.


© Daniela Mac Adden

© Daniela Mac Adden

Regarding the floor plan’s organization, both blocks area arranged over an orthogonal grid. This grid is bilaterally set on both sides of an axis that cuts through the trapezoid drawn by the site. Each block has its own circulatory nucleus and both lie on this same axis.


© Daniela Mac Adden

© Daniela Mac Adden

Section

Section

© Daniela Mac Adden

© Daniela Mac Adden

Along with the site’s geometry, the diverse typology requested by our customers and the intention to achieve well lit and aired homes endowed with good views were the project’s main challenge.


© Daniela Mac Adden

© Daniela Mac Adden

Regarding the facade, a brise-soleil system composed of vertical partitions and horizontal eaves was designed to function as a sun control artifact that would also shelter the apartments from the view from the street.


© Daniela Mac Adden

© Daniela Mac Adden

Apart from the central patio, for which natural forestation was designed, the condominium has a common use solarium and reflecting pool on the second level that lean over the patio.


1st Floor Plan

1st Floor Plan

The central patio has semi covered spaces that may be used as parking slots, but also there is a garage and private storerooms on the underground floor that can be accessed through a car elevator.


© Daniela Mac Adden

© Daniela Mac Adden

When the construction was already well advanced, the commissioner acquired the lot next to the building site to incorporate it into the project and the original design needed to be adapted. New stores were included on the front and the new apartments (which were now thirty four) were integrated into the existing structure, making use of the circulatory nucleuses developed for the original project. The brise-soleil system was adapted so that it would serve as an integrating element with the new building.


© Daniela Mac Adden

© Daniela Mac Adden

The exposed concrete is present all over the building shell, as well as in the common areas, the circulatory nucleuses, the slab bases and both the indoor and outdoor floors, made of smooth concrete. In contraposition, inner partitions are plastered brick walls painted in white. While the apartments’ framing is made of dark bonze anodized aluminum, black steel was selected for the front framings, the internal structure supporting the stores’ mezzanines, and the rest of the forges.


© Daniela Mac Adden

© Daniela Mac Adden

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A21studio Uses Bamboo and Poonah Paper to Build Cocoon Inspired Pavilion in Vietnam

Architect Nguyen Hoa Hiep of a21 studio, in collaboration with Saigon architecture students, have created a cocoon-inspired pavilion. This exhibition is organized annually by Handhome.net in Vietnam in order to connect older generations of architects with students. 


© Trieu Chien


© Trieu Chien


© Trieu Chien


© Trieu Chien


© Trieu Chien

© Trieu Chien

This year’s shape of the pavilion references the different insect cocoons found in nature.  Using 800 bamboo sticks and 1,200 sheets of poonah paper, the pavilion was constructed after the traditional Vietnamese technique of crafting lion heads and masks with paper maché at Hang Ma street in Hanoi. This technique has been passed down from generation to generation of artisans surviving to present days. 


© Trieu Chien

© Trieu Chien

Nguyean Hoa explains that the fact that the students implemented the project has a great significance to them as they had the opportunity to practice and improve their knowledge while gaining teamwork skills during the construction.


© Trieu Chien

© Trieu Chien

© Trieu Chien

© Trieu Chien

News via Handhome.net.

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